My practice, which is a
constant negotiation between the conceptual and the affective, operates on
multiple levels of abstraction and appeals to the nature of thought’s relation
to the un-thought. Black Holes, which stand for
uncertainty and not knowing, are tied to complex issues of memory and
expectation, but if consciousness fails to do justice to the full depth of
things, and we can be taken by surprise by something that lies outside our
relationship to these things, something new can arise apart from our knowledge
of it.

Although black holes cannot
exist in physical terms, their immaterial nature becomes real by way their
surroundings and this activity mirrors the production of works of art. The Black Hole paintings and drawings, which exhibit
a laborious craftsman-like quality associated with tapestries, are executed by
way of dense rows of consecutive ‘stitches’ that mark the passage of time and become
the very basis of the production of the appearance of the ‘hole’. Thousands of tiny, single digits embroider a train
of thought that carried out through a kind of automatism or trance-like state. What comes into being from the textual chain liberates
the hole and gives back an image assigned to the place of the un-thought.

Theoretically, Black holes
suspended within a galaxy of stitches are constituted through the fabric of
time. Time, which is an absolute outside
that exists whether we can think it or not, when incarnated into works of art
cannot be observed directly but it can be experienced in a certain volume of
space through sensory qualities like color and shape. These qualities, which represent modes of
relation between individuals and their surroundings, are incompatible with
living beings because their reality is one of signification. To revisit works
of art is to speculate on whether it appears in the way it is described or if
it is something that comes into being with consciousness of its spatio-temporal
forms. For purposes of interpretation, the art is defined from within cognitive
limitations, but if art is part of a universal continuum, and thought is not
distinct from the material process of production, it is possible to describe
the impossible position of the absolute.